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3D, Animation, Cartoons, CGI, Demo, Experimental, NERFs, NeuralRadianceFields, Photogrammetry, Photosynth, Toon3D, VirtualRealityOver 15 years ago, Microsoft released Photosynth [previously], a nifty tool that could correlate dozens of photos of the same place from different angles in order to make a sort of virtual tour using photogrammetry, a technique that went on to influence Google Earth's 3D landscapes and virtual reality environments. But what if you tried the same thing with cartoons? Enter Toon3D, a novel approach to applying photogrammetry principles to hand-drawn animation. The results are imperfect due to the inherent inconsistency of drawn environments, but it's still rather impressive to see a virtual camera moving around glitched-out versions of the Krusty Krab, Bojack Horseman's living room, or the train car from Spirited Away. Interestingly, the same approach works about as well on paintings or even AI-generated video; see also the similar technique of neural radiance fields (NERFs) for creating realistic high-fidelity virtual recreations of real (and unreal) environments.
Author: chavenet
In this episode we'll look at how production notes flat out lie about the making of a film, we'll look at two different sides of Gran Turismo, and we'll check out the history of CGI and why it fell from grace. We'll bust some common misconceptions about CGI, and we'll look at the most notorious "no CGI" project that I know of. the 4th and final episode of "NO CGI" is really just INVISIBLE CGI
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Animation, Blog, CGI, ComputerGraphics, Contra, DigitalArt, DukeNukem, FluidDynamics, GameDesign, Jupiter, Procedural, ProceduralAnimation, Programming, Quake, Shaders, Showcase, Simulation, SpecialEffects, Textures, UnrealEngine, VFX, VisualEffectsEmil Dziewanowski is a technical artist in the gaming industry who excels at using inventive techniques to create compelling visual effects. His latest blog post, Flowfields, walks you through the process of animating the complex whorls and vortices of Jupiter without using traditional fluid dynamics, using lessons learned from such prior art as Contra's color-cycling, frame-by-frame animation, and the trippy lava effect in Quake, ultimately using a combination of clever tricks to design a "universal" flow simulator that can render appealing fluid effects in just half a millisecond.